Traditional Art & History

The artist is the only possible source of artistic creation. Beauty, or the question of beauty, is not the only criterion and intention of art. Art forms the truest monument to civilization and humanity, and is a record of our existence in the world.

Specific vs. Intuitive

The formal elements in art are integrally related to the study and understanding of art. The Elements in Art include both the SPECIFIC aspects (line, color, value, texture, space, volume, mass, media, area, etc.) and the INTUITIVE aspects (rhythm, balance, unity, variety, etc.). The intuitive aspects relate to composition, the manner in which the artist organizes and uses the specific elements in art.

What we see is always greatly affected by content

The artist’s use of organization, design, composition, and order suggests that the process of art making is fundamental to the way we think and respond to the world. The use of shape, texture, line, space, time, motion, light, and color gives the artist an opportunity to express a wide range of concepts, moods, and meanings. Artists use organizing principles to express deep personal feelings, cultural influences and ideals, pressing social concerns, and their own personal visual perceptions to reinforce that what we see is always greatly affected by content.

Aesthetics

Aesthetics is the study of the creation, appreciation, and critical thinking of art. Aesthetics implies selectivity in creating the form of man’s expressive efforts, and constitutes a basic distinction between man and animals. The visual implementation of aesthetics constitutes what is distinct about styles, traditions, and periods in art and lead to recognizable distinctions between examples of art. Traditional art history is about the many facets of the ‘quality’ of art, and the role of its creators and its patrons or customers. An essential part of art history is iconography: the significance of the figures and objects depicted in the artwork.

Subject Matter vs. Content

It remains largely a qualitative evaluation of the explicit and implicit motifs in the artwork. But can we understand the detail of an artwork if we do not know what motifs or topics are changing, why and how much they are changing with time and in different regions? Therefore, quantity is part of the historical complexity of art production. The underlying premise is the concept that to respond to art and to create art is a natural response to living and, that life and art form inseparable and mutually sustaining relationships.

About the Author

As an artist, Gallery Management Instructor, Gallery Director, Independent Curator, and Special Exhibitions Coordinator for City art museums, college art galleries, and commercial galleries in Califor...